1.
1608 in art
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Events from the year 1608 in art. August - Caravaggio is arrested and imprisoned for his part in a brawl and he subsequently escapes and flees Malta. Hendrick Avercamp moves from Amsterdam to Kampen, mesrop of Khizan paints a Gospel

2.
1605 in literature
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This article presents lists of the literary events and publications in 1605. January 1 – The Queens Revels Children perform George Chapmans All Fools at the court of King James I of England, january 6 – First performance of The Masque of Blackness at the Banqueting Hall, Whitehall Palace. The cast includes Penelope Rich and Lady Mary Wroth, january 7 – The Kings Men perform Shakespeares Henry V at court. January 8 – Ben Jonsons Every Man Out of His Humour is performed at court by the Kings Men, january – Kings Men perform Loves Labors Lost before Queen Anne. February 2 – The Kings Men give a performance of Ben Jonsons Every Man in His Humour at court. February 10 and February 12 – Performances of The Merchant of Venice are given at court, may 30 – John Spottiswoode becomes a member of the Scottish privy council. August 27–August 30 – King James I, Queen Anne, gentlemen from St Johns and Christ Church colleges entertain the royals with a series of plays. The big hit of the visit is Samuel Daniels The Queens Arcadia, matthew Gwinnes Latin play Vertumnus puts James to sleep. October – First publication of Relation aller Fürnemmen und gedenckwürdigen Historien by Johann Carolus in Strasbourg, de Nieuwe Tijdinghen, a Dutch proto-newspaper, is perhaps also published this year. Johannes Huser of Waldkirch publishes an edition of Paracelsuss works. Luis de Góngora is ordained as a priest, the Rose theatre in London is abandoned after its lease runs out

3.
Caravaggio
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Michelangelo Merisi da Caravaggio was an Italian painter active in Rome, Naples, Malta, and Sicily between 1592 and 1610. His paintings, which combine a realistic observation of the human state, in scarcely a year or so’s sojourn in Naples, he rapidly established himself once more as the most prominent painter, exploiting high-ranking connections. It was not long before these connections gave him an opening to travel on in 1607 to Malta, governed by the Order of Knights Hospitallers, Caravaggio probably hoped that the Knights would provide a channel whereby he could obtain a pardon from the Papacy. Once more his talents made an instant impression, along with the support of noble patrons and his hopes dashed, he contrived to escape and flee once, which before the end of 1608 led to his cancellation from the rolls of the Order. He made for Syracuse in Sicily, where he was received as a guest by a friend from his Roman days, the painter’s face was disfigured and rumours started to circulate of his death. Various commentators have formulated opinions about his state from works supposedly executed at this period. In fact, Caravaggio’s end is shrouded in mystery, mystery that is rendered only denser by conflicting hypotheses, some speak of a natural death from a persistent fever, others of an assassination by emissaries of the Knights of Malta. The loss of the paintings put the deal and his future in doubt, there is evidence that dogged by a serious fever, he was tended by a local religious confraternity near Porto Ercole, then in the Grand Duchy of Tuscany, but succumbed. His death was certified by them as taking place on 18 July 1610, if the story to this point is exact, it is likely he was buried in a paupers’ common grave. As to the place, though this continues to be contested. Famous while he lived, Caravaggio was forgotten almost immediately after his death, despite this, his influence on the new Baroque style that eventually emerged from the ruins of Mannerism was profound. The 20th-century art historian André Berne-Joffroy claimed, What begins in the work of Caravaggio is, quite simply, modern painting. Caravaggio was born in Milan where his father, Fermo, was an administrator and architect-decorator to the Marchese of Caravaggio. His mother, Lucia Aratori, came from a family of the same district. In 1576 the family moved to Caravaggio to escape a plague which ravaged Milan, Caravaggios mother died in 1584, the same year he began his four-year apprenticeship to the Milanese painter Simone Peterzano, described in the contract of apprenticeship as a pupil of Titian. Following his initial training under Simone Peterzano, in 1592 Caravaggio left Milan for Rome, in flight after certain quarrels, in Rome, where there was a demand for paintings to fill the many huge new churches and palazzos being built at the time. It was also a period when the Church was searching for an alternative to Mannerism in religious art that was tasked to counter the threat of Protestantism. Caravaggios innovation was a radical naturalism that combined close observation with a dramatic, even theatrical

4.
Madonna and Child with St. Anne (Dei Palafrenieri)
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While not his most successful arrangement, it is an atypical representation of the Virgin for its time, and must have been shocking to some contemporary viewers. The allegory, at its core, is simple, the Virgin with the aid of her son, whom she holds, tramples on a serpent, the emblem of evil or original sin. Saint Anne, whom the painting is intended to honor, is an old grandmother. Flimsy halos crown the upright, the recoils in anti-halos. Both Mary and Jesus are barefoot, Jesus is a fully naked uncircumcised child, all else is mainly shadow, and the figures gain monumentality in the light. If this painting was meant to honor the grandmother of Christ, further shock must have accrued, as stated by Bellori, at the Virgin Mary’s revealing bodice. One could speculate that the diagonals of Jesus’ phallus and leg suggest that both battle the snake, with one its metaphorical equal. The model for the Virgin can also be found in Caravaggio’s Madonna di Loreto, contrast this tense scene with the famous, more peaceful arrangement of the family by Leonardo in his Virgin and Child with St. Anne. Madonna dei Palafrenieri 1606 Oil on canvas,292 x 211 cm Galleria Borghese, Rome—online catalog, Web Gallery of Art, Hungary friendly format for printing and bookmarking

5.
1605
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As of the start of 1605, the Gregorian calendar was 10 days ahead of the Julian calendar, which remained in localized use until 1923. January 16 – The first part of Miguel de Cervantes satire on the theme of chivalry, one of the first significant novels in the western literary tradition, it becomes a global bestseller almost at once. March 11 – A proclamation declares all people of Ireland to be the subjects of the British Crown. April 1 – Pope Leo XI succeeds Pope Clement VIII as the 232nd pope, april 13 – Tsar Boris Godunov dies, Feodor II accedes to the Russian throne. April 16 – In England, John Winthrop, later governor of the future Massachusetts Bay Colony, marries his first wife, Mary Forth, daughter of John Forth, of Great Stambridge, Essex. May 16 – Pope Paul V succeeds Pope Leo XI as the 233rd pope, june 1 – Russian troops in Moscow imprison Feodor II and his mother, later executing them. June 20 – Pretender Dmitriy and his supporters, including troops of the Polish–Lithuanian Commonwealth, july 4 – A proclamation commands all Roman Catholic seminary priests and Jesuits to leave Ireland by December 10 and directs the laity to attend Church of Ireland services. July 21 – Pretender Dmitriy is officially crowned Tsar Dimitriy Ioannovich of Russia in Moscow by Patriarch Ignatius, september 27 – Swedish armies are decisively defeated by Polish–Lithuanian Commonwealth cavalry in the Battle of Kircholm. October First publication of Relation aller Fürnemmen und gedenckwürdigen Historien by Johann Carolus in Strasbourg, de Nieuwe Tijdinghen, a Dutch proto-newspaper, is also published this year. Francis Bacons Of the Proficience and Advancement of Learning, Divine, october 27 – Spanish troops of General Spinola occupy Wachtendonk. Mughal Emperor Akbar the Great dies November 3 – Jahangir begins his 22-year reign of the Mughal Empire. 36 barrels of gunpowder are found and Fawkes is arrested for trying to kill King James I of England, Tokugawa Ieyasu abdicates as shogun of Japan, becoming Ogosho. His son Tokugawa Hidetada succeeds him to the office, habitation at Port-Royal established by France under Pierre Dugua, Sieur de Mons, the first European colonization of Nova Scotia in North America, the Gregorian calendar is adopted. Crew of the Olive become the first English visitors to Barbados, refugee French Huguenot merchants begin to settle in Dublin and Waterford. More than two centuries later the community will establish Downside Abbey back in England, the Irish College in Paris is co-founded by John Lee, an Irish priest, and John de lEscalopier, President of the Parlement. Central Mexicos Amerindian population reaches one million

6.
Christ on the Mount of Olives (Caravaggio)
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Christ on the Mount of Olives was a painting by Michelangelo Merisi da Caravaggio, formerly in the Kaiser Friedrich Museum painting gallery, Berlin, but destroyed in 1945. In addition the model for St Peter appears identical with the two St Jeromes from Caravaggios Roman period, Saint Jerome in Meditation and Saint Jerome, both around 1605-1606 and he awakens Peter with the rebuke, What, would none of you stay awake with me one hour. Stay awake, and pray that you may be spared the test, for the spirit is willing, judas then arrives with the Roman soldiers, and Christs pointing finger seems to indicate their approach. The other two figures are St John and St James, at the same time as these works were being produced, Caravaggio was busy with Amor Victorious for the Cardinals brother, the banker Vincenzo

7.
Ecce Homo (Caravaggio)
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Ecce Homo is a painting by the Italian master Caravaggio. It is housed in the Palazzo Bianco, Genoa, cardi claimed the cardinal liked Cigolis version best. The scene is taken from the Gospel of, Pontius Pilate displays Christ to the crowd with the words, Caravaggios version of the scene combined Pilates display with the earlier moment of Christ, already crowned with thorns, mockingly robed like a king by his tormentors. Massimi already possessed a Crowning with Thorns, by Caravaggio, stylistically, the painting displays characteristics of Caravaggios mature Roman-period style. The forms are visible close-up and modelled by dramatic light, the absence of depth or background, and the realism of, the torturer. Pilate, in keeping with tradition, is shown as a rather neutral, the contract for Ecce Homo was signed on 25 June 1605, with the painting to be delivered in August. Whether Caravaggio met his deadline is uncertain, as by July he was arrested for attacking the house of Laura della Vecchia and her daughter, consequently, Caravaggio fled to Genoa until the end of August. In May 1606 he fled Rome again after killing Ranuccio Tomassoni in a duel, Cigolis Ecce Homo was not painted until 1607, and clearly attempts to mimic Caravaggios style, suggesting that Massimi had not yet received his Caravaggio and was turning elsewhere

8.
Domenichino
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Domenico Zampieri, known as Domenichino for his shortness, was an Italian Baroque painter of the Bolognese or Carracci School of painters. Domenichino was born in Bologna, son of a shoemaker, and he left Bologna for Rome in 1602 and became one of the most talented apprentices to emerge from Annibale Carraccis supervision. As a young artist in Rome he lived with his slightly older Bolognese colleagues Albani and Guido Reni, and worked alongside Lanfranco, meanwhile, he had completed frescoes c. Following Annibale Carraccis death in 1609, Annibales Bolognese pupils, foremost Domenichino, Albani, Reni and Lanfranco, became the leading painters in Rome. One of Domenichinos masterpieces, his frescoes of Scenes of the Life of Saint Cecilia in the Polet Chapel of San Luigi dei Francesi, was commissioned in 1612 and completed in 1615. Concurrently he painted his first, and most celebrated, altarpiece and it subsequently would be judged as being comparable to Raphaels great Transfiguration and even as the best picture in the world. With the election of a Bolognese pope in 1621, Domenichino returned to Rome, appointed Papal Architect, he nonetheless continued to be most active as a painter, obtaining many commissions for altarpieces in Roman churches. His Scenes from the Life of San Gennaro occupied him for the rest of his life and he painted four large lunettes, four pendentives, and twelve scenes in the soffits of the arches, all in fresco, plus three large altarpieces in oil on copper. He died, perhaps by poison at the hands of the jealous Cabal of Naples, before completing the fourth altarpiece or the cupola, at the time of his death, Domenichinos chief assistant was an obscure painter from Assisi, Francesco Raspantino, who inherited his masters studio. Earlier, Domenichinos principal pupils were Alessandro Fortuna, Giovanni Battista Ruggieri, Antonio Alberti called Barbalonga, Francesco Cozza, Andrea Camassei, others who studied in his studio include Poussin, Pietro Testa, and his future biographer, Giovanni Pietro Bellori. The portrait of Agucchi in York used to be attributed to Domenichino, Imitation in this sense is not copying but a creative process inspired by rhetorical theory whereby revered models are not only emulated but surpassed. Jerome from an altarpiece of the subject in Bologna by his former teacher. Like Domenichinos paintings, its sources were in ancient models and aimed at clarity of expression capable of moving its audience, as the Florentine composer Giulio Caccini held and Domenichino surely believed, the aim of the composer/artist was to move the passion of the mind. To achieve that goal, Domenichino paid particular attention to expressive gestures, Domenichinos composite score of 58 nonetheless was surpassed only by Raphael and Rubens, and it equalled that of the Carracci. The Balance reflects Domenichinos high standing in the history of European taste— until John Ruskin in the 1840s wrote his devastating attacks on Bolognese Baroque painting in his Modern Painters, the Carracci and their followers were condemned by Ruskin as being insincere. For Ruskin, there was no entirely sincere nor any great art from the seventeenth century, in 1996 the first major exhibition of his work was held at the Palazzo Venezia in Rome. 1620, Royal Collection, Hampton Court Madonna of Loreto with Saints John the Baptist, Paterniano, 1618–19, North Carolina Museum of Art) Rinaldo and Armida, c. 1620–21, Louvre, Paris Martyrdom of St Peter Martyr, c, 1622-23, Louvre, Paris Saint Ignatius de Loyola’s Vision of Christ and God the Father, c

9.
Christ Church Picture Gallery
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Christ Church Picture Gallery is an art museum at Christ Church, one of the colleges of Oxford University in England. The gallery holds an important collection of about 300 Old Master paintings and it is one of the most important private collections in the United Kingdom. The greater part of the collection was bequeathed by a member of the college, General John Guise. Further gifts and bequests were made by W. T. H. Fox-Strangways, Walter Savage Landor, the Picture Gallery is especially strong on Italian art from the 14th to 18th centuries. The drawings collection is shown by an exhibition, changing roughly every three months, and sometimes showing works not in the permanent collection, especially those by modern artists. The gallery was designed by Hidalgo Moya and Philip Powell, and built in 1968 and it is located in the Deanery garden. Professor Joanna Woodall of the Courtauld Institute is a former Assistant Curator of the gallery, the current curator is Jacqueline Thalmann. 40 Years of Christ Church Picture Gallery, still one of Oxford’s best kept secrets

10.
Doria Pamphilj Gallery
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The Doria Pamphilj Gallery is a large art collection housed in the Palazzo Doria Pamphilj in Rome, Italy. It is situated between the Via del Corso and Via della Gatta, the principal entrance is on the Via del Corso. The palace facade on the Via del Corso is adjacent to the church of Santa Maria in Via Lata, like the palace, it is still privately owned by the princely Roman family Doria Pamphilj. The collection includes paintings and furnishings from Innocent Xs Palazzo Pamphilj, the Palazzo has grown over the centuries, it is likely the largest in Rome still in private ownership. The main collection is displayed in state rooms, including the chapel, however, the bulk is displayed in a series of four gilded and painted galleries surrounding a courtyard. An extensive suite of rooms have now been converted to permanent well-lit galleries, containing the more medieval. Work was carried out under the supervision of Francesco Nicoletti, an architect from Trapani, velazquezs portrait of Innocent X, who rose to papacy as cardinal Giovan Battista Pamphilj in 1644, is considered the collections masterpiece. The portrait painted to commemorate the Holy Year was commissioned by his hedonistic sister-in-law Olimpia Maidalchini who was his confidante and adviser. Since 1927, Velázquezs portrait was placed in a specially designated small room along with a sculptured bust of the pope by Bernini. Olimpia Maidalchinis son Camillo Pamphilj, defying his mother, renounced the Cardinalship conferred on him by his uncle the Pope. Born an Aldobrandini it was she who brought the palazzo, then known as the Palazzo Aldobrandini, the architect in charge of this lengthy project was Antonio Del Grande. The façade facing the Via del Corso, however, is by Gabriele Valvassori, following Camillos death in 1666, building continued under the auspices of his two sons Giovanni Battista and Benedetto. In 1763 Principe Andrea IV combined his Genoese and Roman names to the present Doria-Pamphilj-Landi, in 1767 the ceilings of the state rooms were frescoed by late-baroque artists such as Crescenzio Onofri, Aureliano Milani, and Stefano Pozzi. The collection was first opened to the public by the three-quarters English Princess Orietta Pogson Doria Pamphilj and her own father, Prince Filippo Andrea VI, was half English. The ivory crucifix was carved by Ercole Ferrata, Saletta Gialla and Rossa contain Gobelins tapestries, including those on Zodiac signs by Claude Audran. Sala del Poussin, Landscapes by Claude Lorraine, birth of Adonis and the Rape of Adonis by Poussin and Giacomo Eremiti. In the main painting galleries are, 1st Gallery, Mary Magdalene by Carracci, Christ in the house of the Pharisee by Cigoli, St. Roch and angel by Saraceni, and Herminia and Tancred by Guercino. 2nd Gallery, Velazquez and Bernini portraits, antique Roman statues, Saletta del Seicento, Caravaggios Penitent Magdalene and The Rest on the Flight into Egypt Saletta del Cinquecento, Double portrait by Raphael, Salome with the head of St John the Baptist by Titian

11.
Uffizi
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The Uffizi Gallery is a prominent art museum located adjacent to the Piazza della Signoria in central Florence, region of Tuscany, Italy. The building of Uffizi complex was begun by Giorgio Vasari in 1560 for Cosimo I de Medici so as to accommodate the offices of the Florentine magistrates, hence the name uffizi, the construction was later continued by Alfonso Parigi and Bernardo Buontalenti and completed in 1581. The niches in the piers that alternate with columns filled with sculptures of artists in the 19th century. The Uffizi brought together under one roof the administrative offices, the Tribunal and the Archivio di Stato, the state archive. He commissioned from the architect Buontalenti the design of the Tribuna degli Uffizi that collected a series of masterpieces in one room, over the years, more sections of the palace were recruited to exhibit paintings and sculpture collected or commissioned by the Medici. The gallery had been open to visitors by request since the sixteenth century, because of its huge collection, some of its works have in the past been transferred to other museums in Florence—for example, some famous statues to the Bargello. A project was finished in 2006 to expand the exhibition space some 6,000 metres² to almost 13,000 metres². On 27 May 1993, a car exploded in Via dei Georgofili and damaged parts of the palace. The most severe damage was to the Niobe room and classical sculptures and neoclassical interior, the identity of the bomber or bombers are unknown, although it was almost certainly attributable to the Sicilian Mafia who were engaged in a period of terrorism at that time. Today, the Uffizi is one of the most popular tourist attractions of Florence, in high season, waiting times can be up to five hours. In early August 2007, Florence experienced a heavy rainstorm, the Gallery was partially flooded, with water leaking through the ceiling, and the visitors had to be evacuated. There was a more significant flood in 1966 which damaged most of the art collections in Florence severely. Here is a selection from the collection, The collection also contains some ancient sculptures, such as the Arrotino. Collections of the Uffizi Official website Uffizi – Google Art Project

12.
Palazzo Farnese
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Palazzo Farnese or Farnese Palace is one of the most important High Renaissance palaces in Rome. Owned by the Italian Republic, it was given to the French government in 1936 for a period of 99 years, and currently serves as the French embassy in Italy. First designed in 1517 for the Farnese family, the expanded in size and conception when Alessandro Farnese became Pope Paul III in 1534. Its building history involved some of the most prominent Italian architects of the 16th century, including Michelangelo, Jacopo Barozzi da Vignola, work was interrupted by the Sack of Rome in 1527. The massive palace block and its facade dominate the Piazza Farnese, when Paul appeared on the balcony, the entire facade became a setting for his person. The courtyard, initially open arcades, is ringed by an exercise in ascending orders. The piano nobile entablature was given a frieze with garlands, added by Michelangelo, while the practicalities of achieving this bridge remain dubious, the idea was a bold and expansive one. During the 16th century, two large granite basins from the Baths of Caracalla were adapted as fountains in the Piazza Farnese, the palazzo was further modified for the papal nephew Ranuccio Farnese by Jacopo Barozzi da Vignola. It was completed for the second Cardinal Alessandro Farnese by Giacomo della Portas porticoed facade towards the Tiber which was finished in 1589, following the death of Cardinal Odoardo Farnese in 1626, the palazzo stood virtually uninhabited for twenty years. At the conclusion of the War of Castro with the papacy, Duke Odoardo was able to regain his family properties, the resulting inventory is the oldest surviving complete inventory of Palazzo Farnese. After Odoardos death, Pope Alexander VII allowed Queen Christina of Sweden to lodge in the palace for several months, other rooms have frescoes by Daniele da Volterra and by other artists. For generations, the room with Herculean frescoes accommodated the famous Greco-Roman antique sculpture known as the Farnese Hercules, other works from the family collection of classical sculpture were also housed in the palace. One of the vault and ceiling fresco by Annibale Carracci is Galleria Farnese and this large central scene depicts the triumphal progress of Bacchus and Ariadne. Two smaller paintings are attached to the top and bottom of the central picture, USA, the Chief Secretary’s Building in Sydney, Australia, and the Royal Palace, Stockholm. In England Charles Barrys great admiration for the building led him to use it as the model for Londons Reform Club, in Puccinis opera Tosca, set in Napoleonic Rome, the heroines confrontation with the malevolent Chief of Police, Scarpia, takes place in Palazzo Farnese. The Palazzo was inherited from the Farnese by the Bourbon kings of Naples, though the government of Benito Mussolini ransomed it in 1936, the French Embassy remains, under a 99-year lease for which they pay the Italian government a symbolic fee of 1 euro per month. The Palazzo Farnese houses the great scholarly library amassed by the Ecole Française de Rome, concentrating especially on the archeology of Italy, the first three volumes are, F. C. Uginet, Le palais farnèse à travers les documents financiers. Ecole Française de Rome I.1 and I.2, Étude des manuscrits latins et en langue vernaculaire

13.
Fresco
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Fresco is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting. Buon fresco pigment mixed with water of temperature on a thin layer of wet, fresh plaster, for which the Italian word for plaster. Because of the makeup of the plaster, a binder is not required, as the pigment mixed solely with the water will sink into the intonaco. The pigment is absorbed by the wet plaster, after a number of hours, many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name also used to refer to these under-paintings. Later, new techniques for transferring paper drawings to the wall were developed. The main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, if the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. This area is called the giornata, and the different day stages can usually be seen in a large fresco, buon frescoes are difficult to create because of the deadline associated with the drying plaster. Once a giornata is dried, no more buon fresco can be done, if mistakes have been made, it may also be necessary to remove the whole intonaco for that area—or to change them later, a secco. An indispensable component of this process is the carbonatation of the lime, the eyes of the people of the School of Athens are sunken-in using this technique which causes the eyes to seem deeper and more pensive. Michelangelo used this technique as part of his trademark outlining of his central figures within his frescoes, in a wall-sized fresco, there may be ten to twenty or even more giornate, or separate areas of plaster. After five centuries, the giornate, which were nearly invisible, have sometimes become visible, and in many large-scale frescoes. Additionally, the border between giornate was often covered by an a secco painting, which has fallen off. One of the first painters in the period to use this technique was the Isaac Master in the Upper Basilica of Saint Francis in Assisi. A person who creates fresco is called a frescoist, a secco or fresco-secco painting is done on dry plaster. The pigments thus require a medium, such as egg. Blue was a problem, and skies and blue robes were often added a secco, because neither azurite blue nor lapis lazuli. By the end of the century this had largely displaced buon fresco

14.
Annibale Carracci
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Annibale Carracci was an Italian painter, active in Bologna and later in Rome. Painters working under Annibale at the gallery of the Palazzo Farnese would be influential in Roman painting for decades. Annibale Carracci was born in Bologna, and in all likelihood was first apprenticed within his family, in 1582, Annibale, his brother Agostino and his cousin Ludovico Carracci opened a painters studio, initially called by some the Academy of the Desiderosi and subsequently the Incamminati. This eclecticism was to become the defining trait of the artists of the Baroque Emilian or Bolognese School, in many early Bolognese works by the Carraccis, it is difficult to distinguish the individual contributions made by each. For example, the frescoes on the story of Jason for Palazzo Fava in Bologna are signed Carracci, in 1585, Annibale completed an altarpiece of the Baptism of Christ for the church of Santi Gregorio e Siro in Bologna. In 1587, he painted the Assumption for the church of San Rocco in Reggio Emilia, in 1587–88, Annibale is known to have had travelled to Parma and then Venice, where he joined his brother Agostino. From 1589 to 1592, the three Carracci brothers completed the frescoes on the Founding of Rome for Palazzo Magnani in Bologna, by 1593, Annibale had completed an altarpiece, Virgin on the throne with St John and St Catherine, in collaboration with Lucio Massari. His Resurrection of Christ also dates from 1593, in 1592, he painted an Assumption for the Bonasoni chapel in San Francesco. During 1593-94, all three Carraccis were working on frescoes in Palazzo Sampieri in Bologna and his work would later inspire the untrammelled stream of Baroque illusionism and energy that would emerge in the grand frescoes of Cortona, Lanfranco, and in later decades Andrea Pozzo and Gaulli. Throughout the 17th and 18th centuries, the Farnese Ceiling was considered the masterpiece of fresco painting for its age. On the other hand, while admitting Caravaggios talents as a painter, Bellori deplored his over-naturalistic style, if not his turbulent morals and he thus viewed the Caravaggisti styles with the same gloomy dismay. Painters were urged to depict the Platonic ideal of beauty, not Roman street-walkers, yet Carracci and Caravaggio patrons and pupils did not all fall into irreconcilable camps. Contemporary patrons, such as Marquess Vincenzo Giustiniani, found both applied showed excellence in maniera and modeling, in our century, observers have warmed to the rebel myth of Caravaggio, and often ignore the profound influence on art that Carracci had. Caravaggio almost never worked in fresco, regarded as the test of a great painters mettle, on the other hand, Carraccis best works are in fresco. Thus the somber canvases of Caravaggio, with benighted backgrounds, are suited to the contemplative altars, wittkower was surprised that a Farnese cardinal surrounded himself with frescoes of libidinous themes, indicative of a considerable relaxation of counter-reformatory morality. This thematic choice suggests Carracci may have been more rebellious relative to the often-solemn religious passion of Caravaggios canvases, wittkower states Carraccis frescoes convey the impression of a tremendous joie de vivre, a new blossoming of vitality and of an energy long repressed. It is instructive to compare Carraccis Assumption with Caravaggios Death of the Virgin, among early contemporaries, Carracci would have been an innovator. He re-enlivened Michelangelos visual fresco vocabulary, and posited a muscular and vivaciously brilliant pictorial landscape, while Michelangelo could bend and contort the body into all the possible perspectives, Carracci in the Farnese frescoes had shown how it could dance

15.
Nicholas Hilliard
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Nicholas Hilliard was an English goldsmith and limner best known for his portrait miniatures of members of the courts of Elizabeth I and James I of England. He mostly painted small oval miniatures, but also some larger cabinet miniatures, up to ten inches tall. He enjoyed continuing success as an artist, and continuing financial troubles and his paintings still exemplify the visual image of Elizabethan England, very different from that of most of Europe in the late sixteenth century. He was the son of Richard Hilliard of Exeter, Devon, England, a staunchly Protestant goldsmith who was Sheriff of Exeter in 1568, and Laurence, daughter of John Wall, a London goldsmith. Hilliard may have been a relative of Grace Hiller, first wife of Theophilus Eaton. He appears to have been attached at an age to the household of the leading Exeter Protestant John Bodley. Calvinism does not seem to have struck with Hilliard, but the fluent French he acquired abroad was later useful. Thomas Bodley, two older, continued an intensive classical education under leading scholars in Geneva, but it is not clear to what extent Hilliard was given similar studies. Hilliard painted a portrait of himself at the age of 13 in 1560 and is said to have executed one of Mary, Queen of Scots, when he was eighteen years old. She was the daughter of Simon Bening, the last great master of the Flemish manuscript illumination tradition, after his seven years apprenticeship, Hilliard was made a freeman of the Worshipful Company of Goldsmiths in 1569. He set up a workshop with his younger brother John, another brother was also a goldsmith, and he married Brandons daughter Alice in 1576 and they had seven children. Hilliard emerged from his apprenticeship at a time when a new royal portrait painter was desperately needed, Two panel portraits long attributed to him, the Phoenix and Pelican portraits, are dated c. Francis Bacon was attached to the embassy, and Hilliard did a miniature of him in Paris. He appears in the papers of the duc dAlençon, a suitor of Queen Elizabeth, under the name of Nicholas Belliart, peintre anglois, in 1577, money was a persistent problem for Hilliard. The typical price for a miniature seems to have been £3 — which compares well with prices charged by Cornelis Ketel in the 1570s of £1 for a head-and-shoulders portrait, a portrait of the Earl of Northumberland cost £3 in 1586. Nonetheless, he was imprisoned in Ludgate Prison that year, after standing surety for the debt of another. His father-in-law evidently had little trust in his financial acumen, his will of 1591 provided for his daughter by an allowance administered by the Goldsmiths Company. The same year the Queen gave him £400, an amount, after he made a second Great Seal

16.
Guido Reni
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Guido Reni was an Italian painter of high-Baroque style. Born in Bologna into a family of musicians, Guido Reni was the son of Daniele Reni, as a child of nine, he was apprenticed under the Bolognese studio of Denis Calvaert. Soon after, he was joined in studio by Albani. He may also have trained with a painter by the name of Ferrantini, when Reni was about twenty years old, the three Calvaert pupils migrated to the rising rival studio, named Accademia degli Incamminati, led by Lodovico Carracci. They went on to form the nucleus of a prolific and successful school of Bolognese painters who followed Lodovicos cousin Annibale Carracci to Rome, like many other Bolognese painters, Renis painting was thematic and eclectic in style. By late 1601, Reni and Albani had moved to Rome to work with the led by Annibale Carracci in fresco decoration of the Farnese Palace. During 1601–1604, his patron was Cardinal Paolo Emilio Sfondrati. By 1604–1605, he received an independent commission for an altarpiece of the Crucifixion of St. Peter, after a few year sojourn in Bologna, he returned to Rome to become one of the premier painters during the papacy of Paul V. From 1607–1614, he was one of the painters patronized by the Borghese family, Renis frescoed ceiling of the large central hall of garden palace, Casino dellAurora located in the grounds of the Palazzo Pallavicini-Rospigliosi, is considered his masterpiece. The casino was originally a pavilion commissioned by Cardinal Scipione Borghese, the massive fresco is framed in quadri riportati and depicts Apollo in his Chariot preceded by Dawn bringing light to the world. The work is restrained in classicism, copying poses from Roman sarcophagi, there is little concession to perspective, and the vibrantly colored style is antithetical to the tenebrism of Caravaggios followers. Payments showed that he was paid in 247 scudi and 54 baiocchi upon completion on 24 September 1616, the two families were in rather bad relations, and the reason for such friction was their constant quest for temporal power. Also the Popes brother, Antonio Barberini, was a cardinal, in those days, the main church of the Capuchins in Rome was St. Nicholas, rather small and dating back to the Middle Ages. The Archangel Michael trampling Satan, wears a late Roman military cloak,1636, held in Santa Maria della Concezione dei Cappuccini, Rome. According to a legend, Reni became aware that Cardinal Giovanni Battista Pamphilj had slandered him, so, Reni, sensing an opportunity, decided to avenge himself by means of his own talent, at the same time pleasing his client, who belonged to the opposing family. According to existing portraits of him, Cardinal Pamphilj had a face, with thin hair, a scanty beard and a somewhat strange look in his eyes. Therefore, the face that Archangel Michael crushes under his foot looks almost identical to that of Giovanni Battista Pamphilj and this turned out even more embarrassing a few years later, when in 1644 the cardinal was elected Pope Innocent X. According to rumor, the chapel of Montecavallo was assigned to Reni to paint

17.
Goliath
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Post-Classical Jewish traditions stressed Goliaths status as the representative of paganism, in contrast to David, the champion of the God of Israel. Saul and the Israelites are facing the Philistines in the Valley of Elah, David, bringing food for his elder brothers, hears that Goliath had defied the armies of God and of the reward from Saul to the one that defeats him, and accepts the challenge. Saul reluctantly agrees and offers his armor, which David declines, taking only his staff, sling, David and Goliath confront each other, Goliath with his armor and javelin, David with his staff and sling. David hurls a stone from his sling with all his might and hits Goliath in the center of his forehead, Goliath falls on his face to the ground, the Philistines flee and are pursued by the Israelites as far as Gath and the gates of Ekron. David puts the armor of Goliath in his own tent and takes the head to Jerusalem, the king asks whose son he is, and David answers, I am the son of your servant Jesse the Bethlehemite. The first edition of the history was written at the court of Judahs King Josiah. These signs indicate that the Goliath story is made up of base-narrative with numerous additions made probably after the exile, the biblical account describes Goliath as falling on his face after he is struck by a stone that sank into his forehead. British rabbi Jonathan Magonet has discussed some of the difficulties this raises. In the first place, he notes that archaeological information suggests that Philistine helmets generally had a forehead covering, why should David aim at such an impenetrable spot. And why should Goliath fall forward when struck by something heavy enough to stop him, an answer to both questions, Magonet suggests, lies in the Hebrew word meitzach, normally translated forehead. A word almost identical with it appears earlier in the passage—the word mitzchat, then David removed the head of Goliath to show all that the giant was killed. A Goliath makes another appearance in 2 Samuel 21,19, which tells how Goliath the Gittite was killed by Elhanan the son of Jaare-oregim, the Bethlehemite. The King James Bible translators adopted this into their translation of 2 Samuel 21, 18–19, most likely, storytellers displaced the deed from the otherwise obscure Elhanan onto the more famous character, David. Tell es-Safi, the biblical Gath and traditional home of Goliath, has been the subject of excavations by Israels Bar-Ilan University. The archaeologists have established that this was one of the largest of the Philistine cities until destroyed in the ninth century BC, a potsherd discovered at the site, and reliably dated to the tenth to mid-ninth centuries BC, is inscribed with the two names alwt and wlt. The name Goliath itself is non-Semitic and has linked with the Lydian king Alyattes. The underlying purpose of the story of Goliath is to show that Saul is not fit to be king. Saul was chosen to lead the Israelites against their enemies, but when faced with Goliath he refuses to do so, Goliath is a giant, and Saul is a very tall man

18.
Peter Paul Rubens
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Sir Peter Paul Rubens was a Flemish/Netherlandish draughtsman and painter. He is widely considered as the most notable artist of Flemish Baroque art school, the catalogue of his works by Michael Jaffé lists 1,403 pieces, excluding numerous copies made in his workshop. His commissioned works were mostly history paintings, which included religious and mythological subjects and he painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house and he also oversaw the ephemeral decorations of the royal entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not overly detailed and he also made great use of oil sketches as preparatory studies. For altarpieces he painted on slate to reduce reflection problems. Rubens was born in the city of Siegen to Jan Rubens and he was named in honour of Saint-Peter and Paul, because he was born on their solemnety. His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Spanish Netherlands by the Duke of Alba. Jan Rubens became the adviser of Anna of Saxony, the second wife of William I of Orange. Following Jan Rubens imprisonment for the affair, Peter Paul Rubens was born in 1577, the family returned to Cologne the next year. In 1589, two years after his fathers death, Rubens moved with his mother Maria Pypelincks to Antwerp, religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting. In Antwerp, Rubens received a Renaissance humanist education, studying Latin, by fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the leading painters of the time, the late Mannerist artists Adam van Noort. Much of his earliest training involved copying earlier works, such as woodcuts by Hans Holbein the Younger. Rubens completed his education in 1598, at time he entered the Guild of St. Luke as an independent master. In 1600 Rubens travelled to Italy and he stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The colouring and compositions of Veronese and Tintoretto had an effect on Rubenss painting. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601, there, he studied classical Greek and Roman art and copied works of the Italian masters

19.
The Fall of Phaeton (Rubens)
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The Fall of Phaeton is a painting by the Flemish master Peter Paul Rubens, featuring the ancient Greek myth of Phaeton, a recurring theme in visual arts. Rubens chose to depict the myth at the height of its action, the thunderbolts provide the light contrast to facilitate the display of horror on the faces of Phaeton, the horses and other figures while preserving the darkness of the event. The butterfly winged female figures represent the hours and seasons, who react in terror as the night, the great astrological circle that arches the heavens is also disrupted. The assemblage of bodies form an oval in the center, separating dark. The bodies are arranged so as to assist the viewer’s travel continually around that oval, Rubens painted The Fall of Phaeton in Rome and the painting was probably reworked later around 1606/1608. It has been housed in the National Gallery of Art since 5 January 1990, Rubens also painted other Greek mythological subjects, such as The Fall of Icarus, Perseus Freeing Andromeda, and The Judgement of Paris

20.
Joachim Wtewael
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Joachim Anthoniszoon Wtewael was a Dutch Mannerist painter and draughtsman, as well as a highly successful flax merchant, and town councillor of Utrecht. Wtewael was trained in the style of late 16th-century Haarlem Mannerism and remained faithful to it. Altogether he has left about a hundred paintings, as well as drawings and he painted a mixture of large paintings on canvas, and tiny cabinet paintings on copper plates, the latter the more numerous and typically the most distinctive. There is also a group of mid-sized paintings, often on panel, in all these sizes he painted a mixture of conventional religious subjects and mythological ones, the latter with a strong erotic element. Especially in his works on copper he returns to the subjects in several works. The first of these was painted in all sizes, often the large paintings contain only a few figures, but the small and middle sized ones are extremely crowded compositions, the mythological ones typically including many nudes. In some works he revived the kitchen scene subjects of Pieter Aertsen from a half century before. According to Seymour Slive, When well preserved his little pictures glow like gems and his large house on one of the main canals of Utrecht remains, though remodelled, and as well as family portraits the Utrecht museum has two very fine pieces of his furniture. He had several children, and seems to have stopped painting for almost the last decade of his life, perhaps influenced by the illness and death of his wife. Like his brother he was a city councillor, as a member of the main Dutch Reformed Church he was involved in the struggles with the Remonstrants and his best known work, and almost his largest, is the near life-size Perseus and Andromeda in the Louvre. Producing his highly finished paintings was probably not very economic. His granddaughter still owned 30 of his paintings in 1669, Wtewael was born and spent almost all of his life in Utrecht, where he died. He was the son of a glassmaker and glass painter who had settled in Utrecht in 1566 and he began his career in Utrecht, according to Carel van Mander, as a glassmaker and glass engraver in his fathers workshop. In 1586, he began four years of travelling and living in Italy and then France and his main Italian base was in Padua, close to Venice, and his earliest works show awareness of the Second School of Fontainebleau, which was probably the result of visiting there. Returning to Utrecht in about 1590, Wtewael established a workshop and joined the guild as a painter and began producing paintings, drawings, engravings. Later he was a member of the new Utrecht Guild of Saint Luke for the painters of Utrecht. He never lived elsewhere, and seems never to have travelled outside the Netherlands again and he married Christina Wtewael van Halen, whose portrait of 1601 makes a pair with the self-portrait illustrated. In 1596 they had a son Peter Wtewael, who became a painter, their son, Jan, may also have been a painter as, unlike Peter, he registered with the guild

21.
Hendrick van Anthonissen
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Hendrick van Anthonissen was a Dutch marine painter. Van Anthonissen was born and died in Amsterdam and he was the son of Aert Anthonisz and painted in the style of his brother-in-law and teacher Jan Porcellis and of Jan van Goyen. He is the author of sea paintings in the Hermitage, St. Petersburg and the Prague Gallery, in the 1630s he lived in The Hague, Leiden, and Leiderdorp, but from 1642 he was back in Amsterdam. He is known for scenes and seascapes in the manner of Jan Porcellis. He was the father of the marine painter Arnoldus van Anthonissen, in 2014 one of Anthonissens paintings View of Scheveningen Sands, which was painted in 1641, underwent conservation at the Fitzwilliam Museum in Cambridge. Restoration work uncovered a beached whale in the picture which had been obscured before 1873, Anthonissen, Hendrick van at the RKD databases